On Paintings in the Sand
The weaving's come undone. Stitches untied, unraveled. Strands of lace and bright-coloured yarns lie like fragmented, melted, Surrealist Dali paintings. Time itself has unwoven its tight grip. What was is spinning undone, the wheel unweaving each strand of memory, each flashback, scattering the cloth that was worn into the unrelentingly ragged. All that remains are tatters of a way of perceiving, a way of composing, a perception that gave coherence to the confusions of meaning.
The wind that sweeps across the damaged landscape of meltings and obscurities scatters what's left, taking even the mementos of a way to compose the picture that made sense, that held it all together. There is no centre. Or circumference. Only the burning, the ceaseless burning of the fire in the sky. And the light that pulls consciousness with it, into recognition, into awareness.
Into weaving stories, making patterns, creating forms, dramas about the world, personas for ourselves, staging scenarios because we don't know. What lies under the fabric of our lives? When the weaving shreds, and is lost, do we busy ourselves with raw yarn and our spinning wheels and our pots of dye and our artistic forms and create new pageants to express us and to create us over and over by reiteration? Why does what flows have to adhere to processes of fixing, stabilizing, pinning, eternalizing?
If I throw away all my weavings, crumpled and shredded and scattered, recycling into the earth, and let time undo itelf through me, will I levitate through the landscape of the unburdened heart? And will I feel the soft rain like glistening petals on my naked skin?